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Chen G.

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Everything posted by Chen G.

  1. Early scripts for Star Wars do have Wookies fighting the Empire. But no script has the framing device Mark Hamil describes. Memory is suspect and, as far as the production history of Star Wars is concerned, if I don't see it in a script draft, or a storyboard, or concept art or footage, than it didn't happen. There's just way too much misinformation going on from Lucas' end, and faulty memories on the part of others.
  2. The War of the Rohirrim also didn't really earn the "The Lord of the Rings" title, and neither did half a dozen games that used it. Other than The Hobbit and maybe The Silmarillion, any of the lesser Tolkien titles (or ersatz-Tolkien titles, as the case may be) aren't recognisable enough on their own. Far be it from me to hate on something because of two or three words...
  3. They could make him look younger in the moving picture than they would be inclined to do in a still like this. Also: https://twitter.com/FellowshipFans/status/1534268739167846401/photo/1
  4. No it wasn't. Mark Hamill also remembered that the film was going to be framed as a Wookie fairytale. I don't trust his memory as far as I can throw it.
  5. That's exactly what I'm saying, yes. Lucas is the absolute master of bending the truth. I don't believe a word he says.
  6. which is an interview from after the film was completed. Goes in the same pile with all the Joseph Campbell talk, for me.
  7. This. From their dialogue its not even clear that their parting involving a clash of swords. The idea of a duel and certainly the idea of Vader being a burn victim were both later additions in and of themselves. My favourite thus far is Leia and Obi Wan talking about the Force. "Luke, you have a power I don't understand". Quite.
  8. I do think Nick, as much as some of these plot developments do really, really, REALLY not inspire confidence, the show deserves - ahead of its airing - all the good faith that this board extends to that slew of Star Wars shows.
  9. I'm good friends with quite a few guys who met the showrunners in London recently, and who's opinions I trust. The overwhelming impression was that the showrunners know their Tolkien very well, and between them and myself, we've had great arguments about whether that's necessarily a good thing, whether what matters is their ability to helm a TV show over their ability to interperate Tolkien, etc... I also thinking listening to an artist talk about the work of art is far less important than looking at the work of art for yourself and seeing what they actually made, as opposed to what they say they made. Some of this stuff: derpy Hobbits with cute English names (and, in one case, a bad Bach wig) transplated into this work, pre-Mordor, a man who literally falls into the show from the sky - that sort of stuff doesn't inspire great confidence in me, personally.
  10. I think exactly because its been done so much (and, I'd argue, so well) I really don't need it in this show. I'd have loved something more Machiavelian, more cutthroat.
  11. Its a very difficult comparison to make. The Obi-Wan piece benefits from being part of a much, much larger construction of themes, so that hearing it in 2022, we hear a lot of other things in it and it reminds us of a myriad things from the Star Wars films. It has an accumulative associative power that the overture does not (indeed, cannot) have.
  12. Oh, I'm more than willing to believe this has a touch of Conan about it: the whole getting-a-sword-from-a-catacomb is VERY Conan. But Conan doesn't die at the end of the movie, and even Wallace (who does die) doesn't die due to his own poor decision-making: those are elements of Hamlet. The whole Gertrud-as-spinstress twist is totally new, though. Ophelia surviving isn't as novel: Daisy Ridley's Ophelia already pulled that, and its the sort of thing you see with many female tragic figures in modern stage productions: its rare to see a Tristan where Isolde dies at the end anymore...
  13. It reminded me of Conan, Braveheart and...unsurprisingly...Hamlet. But this scrim of surrealism and the emphasis on peculiar ceremonies and customs along with very heightened language mostly work towards keeping the audience at an arm's length from a story and a character that's already alienating to some extent. The best way, I find, to treat ancient history (as opposed to more recent one a-la Apocalypse Now, which does the surrealistic thing exceptionally well) is to bloke-ify it: make it relatable to a 21st century audience rather than highlighting all the ways its removed from our own.
  14. I'm the opposite: wanted it to be much more matter of fact and less surreal-feeling.
  15. See, see? I told you! Some of this stuff will be great to watch with copious amounts of booze. EDIT: Ahem...
  16. It was definitely a lame attempt to recapture the lightning of the father reveal, and it was that reveal - not the father reveal - which turned the series into a glorified soap opera.
  17. But, if it looks like this before…someone has to turn it to Mordor… That idea scares me.
  18. That’s a tricky one: did the father reveal hurt the series? It’s arguably the thing that made it last: it gave it substance beyond the gee-wiz effects. I would argue the sister reveal was the problematic one.
  19. Oh please, THAT Vader was basically just Tarkin's muscle. A glorified uber-Stormtrooper.
  20. I think that's a little bit trickier to do given the kind of idiom those scores are written in: Williams wrote something like Rey's theme with the intention that when we should hear it, we should remember Rey and what she's going through over the course of the movies. That's the whole purpose of the leitmotif technique: the make the music and drama inseparable.
  21. Or just because its a painful memory and that's how Guinness plays painful? To me, all these kind of retcon explanations always feel hollow.
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